Two Weeks Notice [Blu-ray]

Director: Marc Lawrence Marc Lawrence

Overview

A woman finds herself attempting to foil one office romance while debating if she should take a chance on another in this romantic comedy. Lucy Kelton (Sandra Bullock) is a top-flight attorney who has risen to the position of Chief Legal Counsel for one of New York's leading commercial real estate firms, the Wade Corporation. However, Lucy's job has one significant drawback -- George Wade (Hugh Grant), the eccentric and remarkably self-centered head of the firm. George seems entirely incapable of making a decision without Lucy's advice, whether it actually involves a legal matter or not, and while she's fond of George, being at his beck and call 24 hours a day has brought her to the end of her rope. In a moment of anger, Lucy gives her two weeks notice, and George reluctantly accepts, under one condition -- Lucy has to hire her own replacement. After extensive research, Lucy picks June Carter (Alicia Witt), a Harvard Law graduate determined to make a career for herself. Lucy soon begins to suspect, however, that June plans to hasten her rise up the corporate ladder by winning George's hand, leaving Lucy to wonder if she should warn George about his beautiful but calculating new attorney -- and whether she should tell George that she has finally realized she's in love with him. Two Weeks Notice was written and directed by Marc Lawrence, who had previously scripted two other box-office hits for Sandra Bullock: Miss Congeniality and Forces of Nature.

Product Details

Release Date:	02/04/2014
UPC:	0883929373666
Original Release:	2002
Rating:	PG-13
Source:	Warner Home Video
Presentation:	[Wide Screen]
Sound:	[Dolby Digital Stereo, Dolby Digital 5.1 Surround]
Language:	English
Time:	1:41:00
Sales rank:	20,308

Special Features

Audio commentary with branching gags by Sandra Bullock, Hugh Grant and writer/director Marc Lawrence; HBO First Look: The Making of Two Weeks Notice; Two additional scenes; Gag reel; Theatrical trailer

Cast & Crew

Performance Credits

Sandra Bullock	Lucy Kelson
Hugh Grant	George Wade
Alicia Witt	June Carter
David Haig	Howard Wade
Dana Ivey	Ruth Kelson
Robert Klein	Larry Kelson
Heather Burns	Meryl Brooks
Dorian Missick	Tony
Jonathan Dokuchitz	Tom
Veanne Cox	Melanie Corman
Janine LaManna	Elaine Cominsky
Iraida Polanco	Rosario
Charlotte Maier	Helen Wade
Katheryn Winnick	Tiffany
Jason Antoon	Norman
Wynter Kullman	Tyler
Francie Swift	Lauren Wade
Adam Grupper	Ex-Mrs. Wade's Lawyer
Mark Feuerstein	Rick Beck
Mark Zeisler	Mr. Lowell
Nadine Mozon	Ms. Gonzales
Tim Kang	Paul the Attorney
Sharon Wilkins	Polly St. Clair
Rocco Musacchia	Fisherman
Johnny Dee	Homeless Man
John Cunningham	Justice of the Peace
David Aaron Baker	Man Getting into Cab,RV Woman
Teagle F. Bougere	Willie the Bellboy
Mandy Siegfried	Hana the Hostess
Libby West	Masseuse
Mike Piazza	Himself
Shannon Fiedler	Cookie Girl
Adam LeFevre	RV Man
Sebastian R. Rand	RV Son,RV Son
George Gearhart King III	RV Son
Donald Trump	Himself
Norah Jones	Herself
Bill Bowers	Dance Floor Mime
William Thourlby	Man in Elevator
Elizabeth Owens	Woman in Elevator
Dori Kancher	Farewell Party Girl
Marina Lutz	Lucy's Assistant
Jose Ramon Rosario	Assemblyman Perez
Dolores Winn	Actor
Steven Weisz	Actor
Robin Weigert	Actor
Patrick Tierney	Actor
Frank Stellato	Actor
Tsuyoshi Shinjo	Actor
Nick Poltoranin	Actor
Joseph Badalucco Jr.	Construction Foreman
Sonny Kompanek	Conductor
John Powell	Composer

Technical Credits

Marc Lawrence

Bruce Berman	Executive Producer,Producer
Pete Bocossi	Stunts
Sandra Bullock	Producer
Andrew Ellerd	Special Effects,Sound Effects
Sean Garnhart	Special Effects
Jerry Hewitt	Stunts
Mary McLaglen	Executive Producer,Producer
Ilene Starger	Casting
Bruce Tanis	Special Effects
Marc Lawrence	Screenwriter,Director
John Stifanich	Special Effects
Peter Bucossi	Stunts
David Boulton	Sound Effects
Akiko Ashley	Special Effects
Martin Czembor	Sound Effects
Tom Fleischman	Sound Effects
Scott Elias	Producer
Danny Michael	Sound Mixer
Alan Meyerson	Sound Mixer

Editorial Reviews

Hippie Harvard Law School graduate Lucy Kelson (Sandra Bullock) is dedicated to saving the world. What she needs is someone to rescue her from a life of workworkwork and Chinese takeout. George Wade (Hugh Grant) is the playboy poster boy for his family’s real estate company, a superficial billionaire who needs someone of substance to reveal his self-worth. They are clueless to their need for each other, and watching them ricochet around on their way to this discovery is what makes this romantic comedy so charming. They're first drawn together when the Wade firm targets Lucy’s beloved Coney Island community center for demolition, and George promises to preserve it -- if she'll work as his legal counsel. Their relationship has moments of When Harry Met Sally-like magic as belligerence becomes bonding, and it's no surprise when Lucy calls it quits. The "you don't know what you’ve got 'til it’s gone" ennui plays out during the fortnight that Lucy has to train her replacement (Alicia Witt), an attractive go-getter with her eye on George's briefs (legal and otherwise). Credit writer-director Marc Lawrence (who also wrote Bullock’s Miss Congeniality) for the film’s crackling dialogue. He deftly meshes slapstick moments with thoughtful perspectives on corporate greed and personal responsibility, and also manages to bring out the best in his stars, creating chemistry while tapping into their individual talents. Grant’s trademark self-deprecating manner is as endearing as when we met him in Four Weddings and a Funeral, while Bullock remains our brains-before-beauty girl next door. Good for us they found each other here.

Barnes & Noble - Peter Marchand

A breezy, fun little romantic comedy in an era when the studios crank out examples of this genre with little to offer an audience except absurd premises, zero chemistry between wooden leads, and hastily assembled teen-pop soundtracks, this re-teaming of star Sandra Bullock with her Forces of Nature (1999) and Miss Congeniality (2000) writer/director Marc Lawrence is at least a triple play if not quite a home run. Most of the credit goes to Lawrence's wisely character-driven script, which is peppered with enough cuttingly witty banter, smart physical gags, and surprisingly thoughtful political observations that its adherence to standard "rom-com" formulas is hardly noticeable. Chemistry is always a major factor in this genre, however, and this is where Two Weeks Notice (2002) truly takes on the soufflé-light affability of a Preston Sturges yarn, with leads Bullock and Hugh Grant connecting on a genetic level -- if they're not quite Barbara Stanwyck and Henry Fonda in The Lady Eve (1941), they are at least Julia Roberts and Richard Gere in Pretty Woman (1990). Their genuine affection and respect for each other as Lucy and George is evident in every scene, hauling what could easily have been what they used to call a "studio programmer" to at least one or two levels above the norm. Their flinty, flirty relationship only derails when the material fails them slightly in the second half, devoting too much time to subplot characters that are either not sympathetic enough (her left-leaning hard-case mother played by Dana Ivey is a little too real for a type of story trying to draw parallels to a fairy tale) or too sympathetic by far (Lucy's romantic rival, played by Alicia Witt, is far too likeably sparkling in a part that Lucy Liu or someone who can similarly project "bitchy" was born to play). This makes the waning sequences flag somewhat in energy and interest, but at least the film goes slightly awry long after most entertainments of its type have put half the audience to sleep. The best movies are the ones that linger, and what lingers about Two Weeks Notice is the certainty that its leads should work together again.

All Movie Guide - Karl Williams

I'd watch these two together again in a New York minute.

Entertainment Weekly - Lisa Schwarzbaum

The hard-to-predict and absolutely essential chemistry between the down-to-earth Bullock and the nonchalant Grant proves to be sensational, and everything meshes in this elegant entertainment.

Los Angeles Times - Kevin Thomas